Director: Kaouther Ben Hania
Writer: Keouther Ben Hania
Cast: Saja Kilani, Motaz Malhees, Clara Khoury, Amer Hlehel

The world is consistently seeing wars divide and kill people, with more and more of these people being ordinary citizens who want nothing more than to live a safe, comfortable and happy life in the country in which they were born. Countless amounts of these people are also children. Sadly, and infuriatingly, many world “leaders” cannot see past themselves and their own narrow-mindedness, to the point where they will attack their own people if they happen to only disagree with them and will stop at nothing to wipe out their opponents elsewhere. With the toll being so widespread and everything happening on a wide scale in multiple countries, it can all feel overwhelming and hard to find reliable sources to provide a clear and factual explanation of everything that is happening, but sometimes it takes just one little thing, one little person, one little voice, to put everything into perspective.

In January 2024 during an attack on the Gaza Strip by Israeli forces, a shell hit the vehicle five-year-old Hind Rajab was traveling in with six of her family members, an aunt, uncle and four cousins. Through a cellphone, one of Hind’s cousins was able to contact the Palestine Red Crescent Society, a humanitarian organisation aiding people in Palestine, before she was killed under gunfire. Left alone, Hind spoke with dispatchers for hours until they were able to safely send in an ambulance to retrieve her, her voice growing increasingly desperate, scared and confused. The ambulance made it to Hind, but horrendously, in spite of being permitted access by the Israelis, the ambulance was destroyed, and it was twelve days before rescuers could get to the area and discover the fate of Hind and the ambulance crew.

The setting of the film, a Red Crescent emergency call centre, could not be more poignant than if it were set amongst the devastation caused by the Israelis or in the car with Hind herself. Hind’s voice resonates throughout the call centre, and writer/director Kaouther Ben Hania makes it clear that the recordings are all the real recordings, making the story almost as harrowing as if the audience were seeing events unfold in real time. The glass walls that separate the dispatchers and the main coordinators give a feeling of transparency yet still remain as walls between the emotional reactions of the dispatchers and the rules that have to be followed to keep everyone as safe as possible. The main dispatchers, Rana (Kilani) and Omar (Malhees), have their emotions pushed beyond their limits in their attempts to keep Hind talking and get help to her. Their frustration pertaining to the ‘coordination’ that has to occur between the Gaza Health Ministry and the Israeli military before sending in an ambulance is so palpable, to the point where not only will you feel their frustration too, but the frustration that any of this is happening at all.

The performances are incredible, and it’s clear that a lot of work went into recreating actual events as close to reality as possible. Motaz Malhees as Omar draws us in initially, as the first to be in contact with Hind, then as he steps back to fight for her survival, Saja Kilani takes over as Rana, who has to find the strength within to keep herself going while keeping Hind’s spirits up without outright lying to her. The dialogue and action covers a huge amount of very human turmoil, and between their desperation and Hind’s voice crying for help, it is impossible to deny the reality of what the Israeli military and government are doing to Palestinians.

Hind’s voice is the voice of millions of children, not just in modern times, but throughout history – in which case, make it billions. Some might consider it in bad taste to use Hind’s story to make a film, but it is clear in Ben Hania’s writing and direction that this is a necessary film to show exactly what is happening in Palestine, and also to remember Hind and not let her senseless death be in vain. While I believe this film should be watched by everyone, you will want to make sure you’re in a strong headspace before doing so – personally I was in tears just ten minutes in, and it gave me a very similar feeling to how I felt watching 20 Days in Mariupol, so be aware before going into this. The Voice of Hind Rajab has also broken the record for the longest standing ovation and received Oscar and BAFTA nominations for Best International Film, proving that the world is very much listening, but now we need more people to speak and act.